If the spacing of the screws in the drawer handle had been different, the final "picture" would have been different as well. Five of the world's most powerful nations pledge to avoid nuclear war. Their meeting on January 3 will contribute to a particular "picture" of the world, not another.

There were moments while working on this painting when I realized that I was reacting not to the shape of an earlier brushstroke, but to its reflected image in the mirror. I was reacting to something that did not actually exist, or existed, but not where I thought it did. Thus, this work consists of both the correct brushstrokes and the corrective ones. In the end, all these brushstrokes are one and the same thing.

Niele Toroni's concept is based on imprints of a number 50 paintbrush at regular intervals of 30 cm. Each imprint applied in a repetitive manner is unique in its shape. Considering that my approach is based, among other things, on paying attention to the shape of each brushstroke, it was one of the reasons why I decided to merge Toroni's and my concept into a single work. What is also similar in both Toroni's and my approach is the methodical sameness which serves as the foundation for the emergence of continuous change. In this painting, I responded not only to the shape of my brushstrokes but also to the shape of the three red imprints that I had created according to Toroni's concept. Each of these imprints influenced the final form of the painting in its own way. Before I started painting, I had the notion that my brushstrokes would interact with the red imprints in a spectacular manner, ideally hitting them at a 45-degree angle and rebounding at right angles. However, my idealized notion was not reflected in the actual painting process. Not only in this work, but also in previous ones, I have noticed that the brushstrokes often blend in with the ones that came before. They surrender to earlier structures as if they were following a predetermined scenario, adhering to strict and fixed rules. They conform to what has preceded - in stark contrast to what I had envisioned. The brushstroke aiming at 45 degrees and bouncing back at a right angle resembles a wide-smile selfie on social media that employs a similar mechanism as advertising - it seeks to persuade others of the apparent happiness of the individual posting it. The brushstroke aiming at 45 degrees and bouncing back at a right angle is like a person who has chosen to establish a traditional family, suppressing the innate desire for multiple sexual partners. Yes, it is indeed feasible to direct the brush to hit at a 45-degree angle and rebound at a right angle. It will be part of reality, too. But, even though it will be a part of reality, it will not be true.

The unnamable, the intangible, is surrounded by the mechanisms of nature as we know it. This is the rise and fall that are part of it all. This is the temporality of everything, too. This is also cyclicality which guides you through similarities. This is The.

If Ellsworth Kelly had chosen to create different shapes, the final form of my painting would have been obviously different as well. If some of the world's leaders were not murderers, we would not have to witness senseless wars. The New York and Shanghai stock exchanges respond to movements in commodity prices whereas von der Leyen assures Kyiv of support for its EU bid after touring Bucha whilst the comment in the post affects the decision not to throw away the painting.
This work consists of two identical shapes. Logically, the final form of my response to these shapes, in each case individually, should be at least similar. But it is not. It is like assuming that in two identical houses, the course of events within them will also be identical. Perhaps if someone were to develop an algorithm based on my concept and employ a robot to fill the shapes, the resulting filling of each shape would likely be similar. However, it would not necessarily reflect the human element or the principles of reality.